In the nineteenth century, colonialism was viewed as a ready means of expanding access to raw materials, and
increasing relative power Within the global market- This expansion of colonial powers led to a type of exploitation calle
unequal exchange, in Which a seller receives currency for the sale of raw materials, then loses this currency by
purchasing processed goods back from the buyer that incorporate those same raw materials in their production-
How does the tr ansformative act of processing raw materials create value?
Can you think of a good example of unequal exchange within the context of contemporary society?
Use course readings to support your argument- (you can use any readings though)
Offspring of Men is a 2006 British tragic sci-fi movie co-composed and coordinated by Alfonso Cuarón. The film depended on future; 2027, and how no kid had been conceived in any piece of the world for a long time. The world had dropped in clutter, with a large portion of the legislatures on the planet being crumpled (From Wikipedia, the free reference book). That left United Kingdom as one of the main staying sorted out society. Subsequently a great many exiles entered United Kingdom to look for shelter yet Britain had turned into a mobilized police state. Because of which the armed force powerfully confined every single illicit foreigner and suspected supporters. A long take is known as plan-séquence or succession shot in French. It is essentially a shot that isn't hindered with any cuts. It endures longer than the regular time of a shot or altering pace and is a solid imaginative device in the realm of motion picture making. The camera continues moving, turns, goes over the shoulders, change its position however without halting the camera or shooting for even a second. It is typically used to make an emotional and account impact or underscore on a specific scene to catch consideration. It isn't conceivable to shoot a full length motion picture in one take in light of the fact that a 35mm camera reel normally keeps running for just eleven minutes though an expanded 16mm reels of the tape can keep running up to thirty minutes. In spite of the fact that with advanced video, it is conceivable to shoot for more than two hours on a solitary tape (Bordwell, Thompson, Film Art-an Introduction); for instance in the motion picture Russian Ark by Alexander Sokurov. He could deal with a ninety-six minutes film in a long take. Clearly a long take requires significantly more diligent work contrasted with short takes or cuts in light of the fact that while shooting a long take, there are no spaces for botches. In the case of anything turns out badly, the whole scene would need to be shot once more from the earliest starting point et cetera. So the scenes must be consummately arranged and performed by the characters. Fortunately, the executive of the film; Alfonso Cuarón is exceedingly known for doing long takes and controlling the recording into smooth long takes. Before Children of men, he had performed effective long takes in Harry Potter and the Prisoner of Azkaban and Y tu mamá también. Despite the fact that the motion picture Children of Men comprises of overwhelming altering and short shots yet some featuring scenes are done in unprecedented long takes. This enabled the chief to do certain parts of story or non-account frame with the distinctive expressive alternatives. Blending long and short shots additionally makes parallels and complexities among scenes (Bordwell, Thompson, Film Art-an Introduction). Influencing the watchers to envision the condition of the world and condition they were living in because of absence of peace and fruitlessness among ladies. The film Children of Men includes various long takes yet with four striking real ones. In the first which was at the simple start of the motion picture, a bomb impact happened directly after Theo left a bistro. In that long take the chief could accomplish in demonstrating the watcher essentially what the motion picture would have been about. For example starting from the bomb impact and after that gradually floating the consideration towards the lanes. The autos were old and harmed; paying little heed to being the future innovation had turned around, rather than pushing ahead it had either ceased or was being wiped out. In that long take the executive could catch numerous occasions that sounded good to the watcher. For instance the autos cruising by, all of a sudden a bomb impact happens, everything close to the impact gets annihilated, shouts of the injured and the general population close-by could be heard. In the second long take scene it was demonstrated that five individuals which incorporated the evacuees who were a piece of an underground obstruction assemble supporting equivalent rights for all migrants in Great Britain called Fishes were in an auto, heading towards their hideaways alongside their pioneer Julian and her isolated spouse Theo; a lobbyist turned impassive civil servant. That auto scene recovers ones focus and makes it relatively difficult to make sense of the cameras position. It is shocking how skillfully the camera edges and positions have been arranged without the scene appearing to be shapeless. A few shots are being taken from where Julian is sitting and after that from the back, from the side, from the best, front and so on. It looked as if the on-screen characters were making the video themselves. It is relatively unimaginable with the camera moving to a wide range of radical points of view; the on-screen characters are giving out magnificent exhibitions alongside the mayhem. For instance the ping pong ball scene appeared to be too great to be in any way genuine, that in what capacity would two be able to individuals really do that so precisely without a cut? After which, out of the side of an eye, a blazing auto showed up, when the driver hits invert displaced people and other lunatics leave the forested areas with sticks and begin assaulting the auto. In all the perplexity a motorbike shows up with a firearm and shoots Julian. Without a cut looking after congruity, all of a sudden Julian was secured with blood all finished, which gave the watcher a stunning result. The auto that they were driving was totally altered as a general rule; the seats could tilt and lower the performers off the beaten path of the camera. The windshield was intended to tilt to help the camera development in and out through the windscreen (From Wikipedia, the free reference book). While in Alfred Hitchcock's film Rope, to shoot the long takes, furniture was persistently being moved and adjusted and afterward set back to where it was by the spot young men with the goal that the cameras and camera men could move effortlessly. In spite of the fact that like Children of Men, rather than the auto windshield, the dividers in Rope could skim and were portable likewise to suit the camera developments. Subsequent to encountering the initial two long takes, the watcher holds their breath when the following long take comes, expecting something horrible or exciting to happen. The executive didn't disappoint the watchers and played out a genuinely heart destroying scene. It was the scene in which Kee brings forth a youngster. One can swear that the young lady conceived an offspring, in actuality, uncovering a touch of her tissue in the middle of her legs, a genuine crying new conceived infant with its rope still connected, canvassed in blood gets away from the mother's womb under the control of Theo. It was genuinely a lovely scene, wonderfully led and achieved. Anyway the keep going major long take scene felt just as a bad dream had been tore out of your own head and put on the screen. Also, what made it more unendurable and tragic was the way it had been shot in a long take of around six minutes. The way camera took after Theo and Kee in the scene in which a noteworthy war was going on. Nonstop bomb impacts and open discharge in the middle of the UK's armed force and the displaced people were going on, individuals continued falling and biting the dust, with no cut in the shot the blood sprang from the injured bodies. In only one scene so much was going ahead without portrayal. The executive could catch in excess of one extraordinary execution. We could see Luke taking endlessly Kee on a wheel seat and at a similar minute alternate individuals from angles were going to kill Theo and his aides. Because of the long takes utilized, it was unthinkable for the watcher to lose enthusiasm for the film as something unprecedented, surprising or stunning dependably happened. All through the long takes the smoothness of the camera development starting with one camera point then onto the next empowered the watcher to get a more intensive glimpse, maybe an inside look, into the world the characters were living in and truly felt the dangers and risks that they were in right then and there.>GET ANSWER